Our ET creators, the ANUNNAKI from Nibiru, IMPRINTED US WITH ANUNNAKI DOMINATOR CONSCIOUSNESS & left us with governments, corporations, religions & power elites who STEAL PROPERTY, HEALTH, ENVIRONMENTAL RESOURCES & LIFE & say it’s for the good of all. By Sasha Alex Lessin, Ph.D. (Anthropology, UCLA), Co-author (with Janet Kira Lessin) of ANUNNAKI, EVOLUTION OF THE GODS.
Our ET creators, the ANUNNAKI from Nibiru, IMPRINTED US WITH DOMINATOR CONSCIOUSNESS & left us with governments, corporations, religions & power elites who STEAL PROPERTY, HEALTH, ENVIRONMENTAL RESOURCES & LIFE & say it’s for the good of all.
By Sasha Alex Lessin, Ph.D. (Anthropology, UCLA), Co-author (with Janet Kira Lessin) of ANUNNAKI, EVOLUTION OF THE GODS. See the video below this post for documented evidence.
Our ET creators, the Anunnaki from Nibiru, imprinted us with a “Dominator Consciousness.” They left us with governments, corporations, religions, and power elites who steal property, health, environmental resources, and life, and say it’s for the good of all. The extraterrestrial beings known as the ANUNNAKI from Nibiru have left us with a “dominator consciousness.”
“The Anunnaki Overseers: Birth of the Control Grid”Towering Anunnaki beings loom above a dystopian Earth, bathed in the reddish glow of a foreign sky. Below, symbols of human power structures—monolithic government towers, massive corporate machinery, and glowing temples of organized religion—rise like fortresses of control. Energy beams connect the Anunnaki to elite human figures manipulating the masses like puppets. This image represents the seeding of “dominator consciousness” by extraterrestrial creators, embedding control systems under the guise of order and progress.“Legacy of Nibiru: The Architecture of Oppression”Set against a burning sky with Nibiru ominously visible on the horizon, this artwork depicts the Anunnaki’s enduring influence on humanity. Clad in golden armor and glowing with ancient power, they oversee a planet divided by class, ideology, and illusion. The landscape below is a tapestry of manipulated systems—corporate greed, political hierarchy, and spiritual deception—all fed by energy beams from their extraterrestrial architects. This scene visualizes a haunting truth: humanity’s deepest institutions may be echoes of alien design.
They have established governments, corporations, religions, and power elites that exploit our property, health, environmental resources, and lives, all while claiming to act for the greater good. Governments and their allies hide their theft & say that what they do benefits their masses, consumers, and the world.
“For the Greater Good: The Pyramid of Deception”A dark symbolic pyramid rises through a polluted dystopia, crowned by alien overlords and human elites. Government, corporate, and religious institutions form the mid-layers, feeding false promises through glowing propaganda screens. Below, the people are worn and watched, their resources extracted through hidden channels that rise to power. The slogan “For the Greater Good” masks the exploitation engineered from the top.“The Hidden Harvest: Systems of Alien Control”This image visualizes the invisible machinery behind human suffering—Anunnaki and their elite proxies manipulating a layered control system. Dark towers emit surveillance beams, while pipelines discreetly extract wealth, energy, and life from an overburdened population. The illusion of benevolence is projected via screens and symbols, all beneath an ominous sky ruled by unseen forces.
Governments, churches, intelligence services, and multinational corporations mask their crimes.
“Blind to the Fire: Media in the Fog of Deception” A journalist sits blindfolded and disconnected, surrounded by piles of ignored evidence. Behind them, a smoky collage of manipulated events—including stylized towers, battlefield flashes, and masked agents—suggests orchestrated chaos. Strings connect shadowy figures to symbols of media and power, evoking hidden control behind tragedies and cover-ups.
But rulers and allied institutions–the Cabal–all hurt their citizens, employees, and customers. They hypnotize and propagandize us to think they serve their underlings and the general citizenry. Governments must steal from their citizens, multinationals from their employees, customers, and the Earth itself, and conceal the harm they cause lest rival governments, religious institutions, and corporations borg them and take over their rackets. “Governments always align with the Elite, monied, or resource-rich constituents that covertly enslave financially the majority that are not so rich.
FALSE FLAGS & ASSASSINATIONS
Modern journalists discount evidence of conspiracy since the Sandy Hook and Boston Marathons originated with the Q & Trump followers, who see them as part of “woke” false flags & use them to discount other well-documented war causes (such as the pretense that Iraq had weapons of mass destruction or that jet fuel made the twin towers collapse).
“The Redacted Truth: Echoes Behind the Curtain” Amid a dense, chaotic landscape of smoke, surveillance, and symbolic violence, a wall of censored headlines and redacted files looms large. Intelligence agents operate in the shadows, while a central media figure, overwhelmed and silenced, overlooks the connections between seemingly disparate events. The composition speaks to deliberate confusion and historical manipulation.
Many media journalists throw out the baby (real evidence-based conspiracies that took place) with the bath (Q, Trump, Obama Birther Deniers, Republican election disputers, etc.). But the killings of the Kennedys, the Oklahoma City Bombing, the Twin Towers, and others below are documentable. The Cabal executes terror events–false flags–as excuses to scare people into wars from which the Cabal profits.
“Crisis Engineered: The Puppetmasters’ Theater” In a dark control chamber high above a crumbling city, hidden figures manipulate chaos through levers and screens. Below them, society burns in riots and fear, while a massive display showcases a reassuring leader, arms outstretched with a glowing solution. Behind the display, blueprints reveal the deception—this was planned all along. The piece powerfully contrasts fear and control, illusion and intent.
When the victim population reacts to the terrible events, the Cabal offers the solution it planned. “Government engineers a problem, acts surprised” by the problem it created, then pretends to save the frightened and angry masses “with a solution of its design,” way before they staged the terror events.
“Problem-Reaction-Solution: The Perfect Trap” This surreal image captures the cycle of manufactured emergencies. Explosions and unrest dominate the lower scene, while citizens panic. Towering above, a grinning figure on a screen offers salvation, backed by files stamped “Pre-Designed Response.” The real planners watch from the shadows, untouched. Light focuses on the crowd’s confusion, while darkness hides the architects of fear.
U.S. agents, says Caton, orchestrated the sinking of the USS Maine in Havana to start the Spanish-American War; the U.S. first blamed Spain, then, later, tried to say an “accident” caused the sinking. But now we know better.
“USS Maine: The Blast That Lit the Fuse” The explosion of the USS Maine dominates the harbor, captured beneath a brooding night sky. In the shadows, mysterious figures suggest covert involvement. Scattered headlines accuse Spain, while veiled documents labeled “False Flag Operation” hint at a hidden agenda. At a podium, a U.S. official reassures the public—while in the corner, a corrected report overlays the official story with the truth: “We Know Better Now.” The piece blends historical drama with a modern lens of reevaluation.
American agents arranged the sinking of the Lusitania to get the U.S. into World War 1 against Germany; the U.S. told the Germans where to hit the Lusitania.
“Target Marked: The Lusitania Conspiracy” The Lusitania breaks apart under torpedo fire in a dark, turbulent sea. In the distance, shadowy agents plot in a war room, their fingers on a map marked “Lusitania Route.” A telegraph clatters beside them, sending out coded coordinates. German U-boats close in, guided toward the ship. Floating headlines scream “Germany Blamed!” but damp documents stamped “Pretext for War” whisper a deeper intent behind them.“Signals in the Shadows: Orchestrating the War Trigger” With dramatic lighting and rich symbolism, this scene portrays the moment of deception: as the Lusitania is torpedoed, intelligence operatives behind the scenes calmly observe, having helped script the outcome. German periscopes lock on, while the world above will soon be told a different version. This visual captures the duality between visible tragedy and invisible intent.
U.S. President Roosevelt forbade the Navy from taking defensive positions when Yamamoto’s fleet headed for Pearl Harbor, so there would be plenty of dead American sailors that would give Roosevelt the excuse he needed to attack Japan, force Japan’s ally, Germany, to attack the U.S. so that the U.S. could send American troops to UK
“A Day of Fire—And Foreknowledge” As flames consume the U.S. fleet at Pearl Harbor, Japanese bombers fill the sky. In the background, a shadowy war room reveals President Roosevelt watching the attack unfold through a large display, hand resting on a document marked “Justification for War.” Naval officers protest, their pleas for defensive action unheard. A calendar pinned to the wall shows December 7, 1941, while covert attack routes are traced across maps behind him. This image evokes a dramatic convergence of tragedy, manipulation, and global strategy.
U.S. President Johnson pretended that a North Vietnamese boat fired on an American ship in the Gulf of Tonkin [The Americans chased a North Vietnamese gunboat and fired at it] as America’s excuse to wage war in Vietnam. “The Gulf of Tonkin episode was a fake. The CIA had a secret operation attacking North Vietnamese coastal installations–so if there was an attack [there wasn’t] it was not unprovoked. No North Vietnamese torpedos fired at the USS Maddox, said McNamara. Another reported attack was also an invention.” [Zinn, 20th Century: 222]
“The Gulf of Tonkin Illusion” The USS Maddox sails through shadowy waters beneath a turbulent sky, while misty, ghost-like images of North Vietnamese boats hover above, symbolizing threats that never truly emerged. In the background, President Lyndon B. Johnson addresses the nation confidently, as CIA agents work behind the scenes with maps labeled “Covert Attacks.” A torn newspaper proclaims “North Vietnam Attacks!” beside a declassified document stamped “No Torpedoes Fired – McNamara.” The entire scene captures the tension between illusion and reality, and the machinery of manufactured conflict.
The Baby Bush administration stood down so the Twin Towers 911 demolition would look like Bin Laden in Afghanistan organized it. Bush used the pretend terrorist attack as an excuse to go to war in Afghanistan, kill Iraqis and steal their resources, and abrogate more civil rights with the Patriot Act.
“From Ruins to Control: The Birth of the Surveillance State” Amid the smoldering remains of a shattered city, towering surveillance structures emerge, casting beams of data-gathering light across stunned civilians. Behind thick glass, shadowy officials observe without emotion, while plans labeled “War Strategy” and “Pre-Planned Response” rest at their fingertips. A billboard glows with the haunting phrase: “Freedom Requires Security.” The image speaks to control masked as protection.“Manufactured Chaos, Engineered Order” This dystopian vision shows a deliberate chain of events: a fiery city collapse, panicked citizens, and the rise of cold, authoritarian structures. The masterminds watch calmly from above, orchestrating the transition from destruction to domination. Surveillance beams carve through smoke, propaganda screens declare loyalty to safety, while true intentions lie buried in secret documents.
“Officials fabricated the account of Oswalt only killing JFK’s assassination. His attempts to neuter the privately held Federal Reserve Bank made him an assassination target. 50% of Americans believe the bogus official explanation.
Ross Perot, in 1922, was polling 39% of American voters to be the next POTUS but dropped out, saying that Bush family agents threatened his family.
“The Independent Surge: Rising Against the Shadows” A lone candidate shines onstage before a hopeful crowd, “39% Support” glowing above. In the background, ominous faceless figures in suits lurk behind curtains, manipulating strings. A distant family watches anxiously as dark clouds gather overhead. The piece captures the tension between public enthusiasm and hidden pressure from entrenched powers.“Populist Momentum vs. the Silent Machine” Set in a dramatic, storm-lit scene, the independent candidate addresses a cheering audience—but shadowy operatives whisper and pull strings from behind. Fear and concern flicker on the faces of the candidate’s loved ones, emphasizing unseen coercion. The image symbolizes the crushing weight of establishment power against reform-driven hope.
Though governments tout the false, benign narrative that their impartial laws help all citizens, “the reality is that law creates an elite criminal class in the minority and a large base of victims” who bear the cost of the laws. [Psycopathocracy: ii, 5, 35-36, 106]
“The Law’s Illusion: Justice for the Few, Burden for the Many” The image splits a staged ideal from a hidden reality. On the surface, pristine courthouses and confident judges hold books promising “Justice for All.” But just behind this glowing veneer, faceless elites manipulate the very same laws as instruments of control. Below, most citizens are shackled, crushed by enormous legal tomes and financial burdens, as ledgers etched “Cost Paid by the Majority” reveal the real beneficiaries. A billboard above reinforces the illusion: “Equality Under Law.” The piece delivers a visual critique of how power and law can coalesce into systemic injustice.
The pernicious program implants the Anunnaki imparted about the overweening importance of HIERARCHIES of authority and status, which they stamped into our psyches, impairing our empathy. Anunnaki Commander Yahweh-Enlil and his emissaries (Angels),” the mutinous Igigi Astronauts (Nephilim) and Prince (Marduk-Satan) taught, modeled, and enforced the hierarchical and DUALISTIC consciousness that, as they planned, impaired our natural empathy for one another.
“The Implantation of Hierarchy: Loss of Empathy by Design” Commanding Anunnaki descended radiantly, imposing a hierarchical and dualistic blueprint upon early humans. Yahweh-Enlil stands elevated, a glowing staff transmitting ideology into human minds. Angelic emissaries hover with solemn authority, while darker figures—rebellious Igigi and Prince Marduk—enforce the new order through raw power. DNA strands fracture in the air, symbolizing the rupture of natural empathy. Below, humanity fractures as well—some bow, others rebel, all confused under a sky torn between light and shadow. This is a haunting portrayal of engineered division.
They gave us dictators, short lifespans, status obsession, classes, greed, religions, racism, sexism, slavery, taxes, gold lust, debt, murder, war, propaganda & ignorance. They demonstrated and fomented obsession with personal, group, racial, religious, national, and commercial status. They showed and taught us compulsive competition, murder-to-rule, and miscegenation.
“Inheritance of Influence: The Cosmic Architects” Set against a swirling galactic sky, timeless beings cast structured energies into the world: geometric forms of control, glowing chains, flickering screens, and looming idols. The land below is fragmented, with scattered groups reacting in confusion and division. It’s a dreamlike rendering of unseen forces shaping the evolution of belief, power, and separation.“Subtle Architects: Imprints of a Shaping Force” Cosmic beings silently direct beams of abstract energy toward a divided Earth. Their influence manifests in symbolic structures: spirals of social complexity, pyramids of hierarchy, and soft chains of unseen control. Humanity below is thoughtful, subdued, and searching for clarity. The cosmic sky swirls overhead, a dreamlike mirror of the mystery behind human order and evolution.
Today, Earth’s governments “mask, nurture, cultivate, and actuate criminal conspiracies to create the appearance of goodness as a cover for evil.” Caton labels Governments’ false goodness a “benign common narrative a people accept as given–about themselves, their collective principles, their country, and their government.
Their benign narrative is deliberately sculpted to hide maliciousness. Governments are parasitic on the masses they rule. The resources they must secure to support their infrastructure and ongoing operations always take more from the general public than they give back. Governments align with an elite moneyed or resource-rich constituent that covertly financially enslaves the majority that is not resource-rich.
“The Harvest Beneath the Banner” Beneath a glowing slogan, “For the People,” shadowy leaders preside over a sophisticated extraction system. Golden siphons drain wealth, labor, and vitality from the gray-toned masses below, funneled into the vaults of faceless elites counting riches. Charts labeled “Control Metrics” and legal texts with hidden clauses surround the elite, who operate from behind ceremonial façades. The contrast between golden luxury and grim exploitation underscores the parasitic dynamic: a polished illusion concealing systemic depletion.
Nowadays, multinational corporations, Anunnaki Prince Satan-Marduk, have secretly run—”the International Monetary Fund, Trilateral Commission, Council on Foreign Relations, and the Bilderbergers”—view the world as their fiefdom.
The multinationals partner with governments & give them financial support in exchange for favors, contracts, kickbacks, political hits, suppression of competition, freedom from prosecution, laws supporting their agenda, favorable tax treatment, loopholes, special trade and tariffs, better media coverage, propaganda, controlled educational systems to marginalize critical thinking, fluoridated water, debilitating food additives and harmful pharmaceutical drugs to minimize the cost of suppressing victim resistance when those victimized accept their lot.”
“The Pact: Power, Profit, and Control” Golden light bathes a secretive handshake between corporate tycoons and shadowy government officials. Money-filled briefcases trade hands beneath pillars of influence: propaganda screens, law books with loopholes, and tax scrolls. Below, factories churn out food, drugs, and indoctrination. The city consumes it all—citizens wear blank faces, and classrooms echo conformity. A dark river of fluoridated water and additives flows silently through it all.
The banking bosses fund all sides involved in big wars and terrorist movements. They have the power to declare fiat money’s worth. Thus, they make money from nothing; it’s fictitious, but it “turns politicians into traitors to the people they ‘serve’ by getting them to accept that money as their debt.”
The mass media, which the government’s bosses control, runs us with the formula “problem-reaction-solution.” Bosses create a problem, pretend surprise, and then “save” us with the “solution,” which was the outcome they wanted when they created the phony problem.
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“System of Submission: Engineered Consent” This layered dystopia depicts a top-down system where corporations and governments operate in lockstep. Media feeds, pharma pipelines, processed food vats, and educational chains run downward into the lives of an unaware population. Pipes marked “Additives” and “Fluoride” pierce the city infrastructure. A child, surrounded by screens and pills, reads from a lifeless textbook as cameras observe. The message: control begins with what we consume and what we’re taught not to question.
